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The window of the Holy Family in the church of St. Mary of the Rosary

The left light depicts Our Lady, with a classic Harry Clarke female face in profile. Her hands splayed, she looks to her left and upwards to the central figure of Our Lord. Her clothing and shoes are all delineated with a masterful and limited use of line which is supported by a remarkable range of blue tones. Her figure stands upon a globe which in turn balances on a roundel in which is depicted the Annunciation. To balance the design the halo surrounding her head matches the size the globe below. Above this halo the space of the converging Gothic arch is filled with the Dormition. The actual scene is a roundel exactly the same size as the Annunciation below. Four figures are skillfully fitted into this space. A further stroke of enrichment is the angel with clasped hands which fills the top of the arch. The border in this top section is made up brightly coloured drapes held back at regular intervals.
Framing the entire light are five pairs of angels in profile with red hair and golden wings. They face inwards whereas the two candle bearing figures which support the bottom roundel face outwards. The background behind the figure is filled with irregular leaded panels of greenish blue, speckled with jewels. So this one light contains twenty figures.

The central light contains the figures of Our Lord, here seen as Lord of the Universe.
The figure is designed to stand higher than either the adjacent figures of Our Lady or St. Joseph. The robes of the figure of Our Lord are a tour de force of Harry Clarke’s inspired designs. The richly coloured and delineated robes, with their skillful juxtaposition of colour, are nothing short of masterful. His halo is the only one with a clear piercing white glass, which spotlights and highlights the head of Our Lord as the key element in the whole window. The head of Our Lord is a further reinterpretation of Harry Clarke’s original cartoons of the head. As the eye is drawn around the figure, you come to a magnificent pair of burnished gold shoes, with large cabochon buckles and smaller patterns of jewelling. All of this detail demands a detailed and lengthy examination. The delicate shoes, in a burnished gold, appear from under the brightly coloured red garments. The creation of yet further emphasis of the shoes, is produced by the dark hued globe, upon which the shoes rest and the deeply lined dark blue/purple ground which in turn surrounds the globe and garments. Beneath the figure and the globe a larger roundel than either of the adjacent lights contains a remarkable crucifixion. The power of the image of the crucified Christ supported by two angels, in profile with vibrant blue and purple wings, is one of the key moments in the design of the whole window. The figure is reminiscent of a number of Harry Clarke depictions of the crucifixion and would appear in a number of future Harry Clarke Studios work. Above the head and halo the remaining space of the central light is filled by three further figures and the Crown, which is entirely surrounded by a red band..

The third light depicts St. Joseph. As with the left hand light depicting Our Lady, the design consists of the elongated figure, with this time exposed feet, which are partially covered with sandals. These latter are in vibrant bright blue. his garments range colour-wise from green to mauve, the long drapes emphasized by the strong verticals of the leading. The background to the figure is as with the left light a series of glass panels with jeweled lights. The bottom roundel depicts the Holy Family in the Flight to Egypt, the top roundel a scene of Joseph on his deathbed. Above this another angel looks straight at the viewer. All three of the different sized roundels, which make up the head and halo, the scene and the angel, are designed and planned to be in perfect and harmonious proportion. Finally as with the left light the edges of the window consist of five pairs of angels with folded wings giving way to the top section of the arch to folded drapery. The three trifoliate tracery lights, which complete the window, each contain an angel with different coloured wings and garments. The eight further small stained glass inserts are yet again filled with tiny explosions of colour.

Henry Patrick Clarke RHA (17 March 1889 – 6 January 1931) was an Irish stained-glass artist and book illustrator. Born in Dublin, he was a leading figure in the Irish Arts and Crafts Movement.

The window is dated from 1933 and was donated by Very Rev. James Canon Hennelly (1843–1939), Chancellor of Tuam, PP.

Cong St. Mary of the Rosary Window Holy Family by Harry Clarke Studios Detail Annunciation 2019 09 04
Cong St. Mary of the Rosary Window Holy Family by Harry Clarke Studios Detail Crucifixion 2019 09 04
Cong St. Mary of the Rosary Window Holy Family by Harry Clarke Studios Detail Flight into Egypt 2019 09 04
Cong St. Mary of the Rosary Chancel 2019 09 04